Two quick new items via Deadline, both of which happen to concern Oscar-nominated foreign-film makers who are now going to direct films with a biblical element.
The Young Messiah: a scene guide (w/ clips and references to the scriptures, the apocryphal texts, and the novel)
Last month I wrote up a scene guide for Risen, noting which scriptures different parts of the movie were based on. Now it’s The Young Messiah’s turn — and this time, matters are complicated by the fact that the film is based not directly on the Bible, but on Anne Rice’s novel Christ the Lord: Out of Egypt, which in turn makes use of Old and New Testament apocrypha in addition to the scriptures.
My friend Matt Page is starting a series of posts over at the Bible Films Blog on the question of canonicity and Bible films. Among other things, he asks: Is there a “canon” of Bible films, independent of the biblical canon itself? And is there a reason why certain biblical stories get filmed again and again while others go ignored?
Christian Bale isn’t the only actor to play Moses in the last few months.
One of the issues that some people have had with Darren Aronofsky’s Noah — it was never a big-enough deal to become a full-fledged controversy, per se — concerns the ethnicity of the actors.
The film depicts the annihilation of the entire human race, except for one family that will go on to produce the entire human race as we know it today — so it seems a little odd to some people that pretty much every character we see in this film fits into a single ethnic category, i.e. Caucasian.
It seems even more odd when one considers that the human race was entirely dark-skinned at first, and that lighter skin was a later genetic mutation that emerged as certain population groups moved “into areas of low UV radiation”. The film flips this around by positing that the entire human race was light-skinned at first, or at least right after the Flood, and thus darker skin must have evolved later.
The Bible epic, as a genre, is typically associated with the 1950s, and for good reason. That’s when Hollywood churned out a series of Bible-themed films, such as David and Bathsheba (1951), The Robe (1953) and The Ten Commandments (1956); and both the decade and the genre reached their climax with Ben-Hur (1959), which won a record number of Oscars in addition to becoming one of the biggest box-office hits of all time.
But the decade arguably got its start in the 1940s, when Cecil B. DeMille produced Samson and Delilah (1949), starring Victor Mature and Hedy Lamarr. It was the first major Bible movie made by an American studio since the silent era — or since the early sound era, if we count DeMille’s The Sign of the Cross (1932), which takes place after the Book of Acts, as a “Bible movie” — and it was a fairly big hit, thereby paving the way for all the bathrobe epics that followed.